“D3monic or Just Art?” King Monada’s Stage Statue Divides Mzansi

King Monada once again found himself at the centre of national conversation after unveiling a mysterious statue moments before his one-man show at Nkowankowa Stadium on 30 December. The colourful female figure, placed as part of the stage setup, immediately caught the attention of concertgoers and social media users alike. Within hours, images and videos of the statue were circulating widely, sparking heated debate across Mzansi.

As expected, opinions were sharply divided. Some critics accused the award-winning artist of promoting dark symbolism, going as far as labelling the setup “demonic” and “evil.” Others, however, came to Monada’s defence, praising the display as bold, creative, and visually stunning. Love it or hate it, the moment reaffirmed King Monada’s ability to command attention and ignite conversation beyond music.

What became clear from the public reaction is that religion and African expression often clash in the modern discourse. Many commentators seemed quick to associate unfamiliar imagery with evil intent, a response deeply rooted in religious conditioning. In some religious spaces, people are taught to view anything outside familiar Christian symbolism as suspicious or demonic, even when no such meaning is explicitly stated.

The reaction raises an important question: would the outrage have been the same if the statue depicted a widely recognised Christian image? If King Monada had used the image of Jim Caviezel, who famously portrayed Jesus Christ in The Passion of the Christ, would the same voices have cried foul? More likely, the setup would have been praised as “holy,” “beautiful,” or a sign that “God is coming back.” This contrast exposes how selective outrage can be, and how religious bias often dictates interpretation.

There is nothing inherently evil about the statue that was displayed. Even if the artist had chosen an owl, a symbol frequently misunderstood and labelled as dark, it would not automatically imply wrongdoing. The problem lies not in the art itself, but in the mindset of those who are programmed to label everything unfamiliar or uncomfortable as demonic.

Art, especially African art, has always been symbolic, expressive, and open to interpretation. It tells stories, provokes thought, and reflects identity. Interestingly, the very same setup some condemned could easily be used to preach Christ or convey a positive message, depending on perspective. Art does not force meaning onto people; people project meaning onto art.

King Monada’s stage design was part of a creative vision meant to elevate his one-man show, and by all accounts, it succeeded in capturing attention. Instead of fear and condemnation, such moments should encourage dialogue about creativity, culture, and freedom of expression.

Africa is at a point where it must begin to think beyond rigid religious lenses and embrace original thought. Questioning, interpreting, and appreciating art without fear is part of growth. King Monada deserves congratulations for pushing boundaries and sparking conversation. If anything, Mzansi should expect — and welcome — even more beautiful, thought-provoking setups like this in the future.e–branded, tell me and I’ll refine it.